Conflict and the Conflicted

As written in the “Introduction,” the novel Wieland is also known as The Transformation. We’ve discussed in depth what we consider the transformations to be—both within the plot and within the characters themselves. The driving force behind these transformations is conflict. There are several possible conflicts seen thus far in the novel that might explain the dynamics of the mysterious events that begin to occur after a period of blissfulness. These include: man versus man (natural), man versus supernatural, and man versus self. “Carwin, perhaps, or heaven, or insanity, prompted the murderer” (184). The first, man versus man, comes into play through the possibility that the source of the disembodied voices heard is Carwin, a biloquist (one who has the ability to speak in different voices or mimic the voices of others), a murderer, and a thief. The second type of conflict, is man versus supernatural. This is manifested in several ways in the novel: through 1. both Wieland’s and his father’s religious fanaticism and supposed “orders” given by a deity and 2. Carwin’s “eternal foe” or Clara’s protector (whose voice was “beyond the compass of human organs” (103)). Lastly, man versus self is seen through Charles Brockden Brown’s analysis of the human psyche, and the powers of the human mind and perception to play cruel tricks (“Madness, say you? Are you sure? Were not these sights, and these sounds, really seen and heard?” (202)). We have spent a good amount of class time contemplating which conflict is the true conflict in the novel, or in other words, if the source of the voices is natural, supernatural, or if the voices are figments of the overactive mind (this is the where the power of suggestion may be a factor—“On my way my mind was full of these ideas which related to my intellectual condition…” (188)).

I personally believe that the conflict is a combination of all three, as none by itself, I feel, can fully explain the happenings or result in a coherent plot (but, I guess we won’t know for sure until we finish the book :)). There are two specific areas in which a single conflict does not provide sufficient explanation: Carwin’s motives for getting involved with the Wielands and with the relation between these current events and the death of Clara’ father. The only insight we are given as to why, possibly, Carwin is playing a role in tormenting the Wieland/Pleyel families, is on page 149. “…that his ends are pursued by means which leave it in doubt whether he be not in league with some infernal spirit: that his crimes have hitherto been perpetuated with the aid of some unknown but desperate accomplices: that he wages a perpetual was against the happiness of mankind “(149). It am unsure as to why Carwin would stop himself from following through with the murder/rape (after hiding in the closet) if there truly were no opposing (supernatural?) protective forces over Clara. Additionally, supernatural forces appear to have been involved in the death of Clara’s father (40). In class, some suggested that Carwin simply knew of the father’s fate from conversations with Pleyel and therefore played off of the power of suggestion to convince the Wielands/Pleyels that they were hearing voices, etc. I, however, remain skeptical…Clara mentions several times that her father’s death was rarely referenced in conversation after it occurred. Didn’t the Pleyels enter her life after the incident? How would Pleyel know the details—such as the shrieking and glowing light—which are then seen again in the more recent events? This, to me, suggests that a supernatural power had a hand in both the former and recent instances. Furthermore, even the characters in the novel suggest that both supernatural and natural forces are at work (“…evil spirits existed, and that their energy was frequently exerted in the system of the world…Where is the proof, said I, that daemons may not be subjected to control of men?” (205)).

I believe that Carwin has been throwing voices to torture, and perhaps murder, Clara and her family. I also suspect that the protective voice, the ominous dream of her brother, and the spontaneous combustion of her father warrant supernatural interference. Finally, I think that the psychological consequences of the two preceding ideas have led these characters to lose their composure and react in the manner they have been, including the insanity that overcame Wieland as he killed his wife and children (“I lifted the corpse in my arms…I even broke into laughter” (195)).

So why did Charles Brocken Brown choose to develop the plot and conflict this way? This, finally, brings me back to the second day of class, when we offered words that made us think of the novel or related to the novel in any way. We discussed how many of the words (i.e. frustrating, etc.) mirrored how we felt as readers. It is apparent that the line between what is of nature or of the supernatural becomes even more blurred and convoluted as the plot evolves. I think that the author did this on purpose—by confusing the reader, or forcing him to constantly argue internally to form a conclusion, he is appealing to both one’s logos (we attempt to rationally sort the information given to us decide for ourselves what exactly is the truth behind the plot) and pathos (we inevitably become involved with the characters and feel what they feel). Because of this, the reader is drawn into the story.